It’s April 26, which means it’s Alien Day, in reference to the planet LV-426 in the original film (whether this is better or worse than May The Fourth Be With You is up in the air). That led to a lot of activity today, from screenings to sales to debate over the possibility of Newt being resurrected for Neill Blomkamp’s film. For me though, LV-4/26 has led to the discovery of a forgotten old comic book that may be one of the best Alien stories ever.

So far this year, my favorite movies have been films driven by uplift and hope and sheer entertainment, spread over a range of tones and styles. But even now, when I could use as much entertaining inspiration as possible, it can just as (if not more) cathartic to watch something unabashedly mean and ugly and grisly. For me, that film is Jeremy Saulnier’s Green Room, a rip-roaring motherfucker of a film that punches you in the face and expects a “thank you” for it. I highly recommend it.

There have been many iterations of The Jungle Book over the years, including several live-action films, but none have been enough to usurp the 1967 animated classic or the original Rudyard Kipling stories. Until now, that is. With this latest incarnation of the tale of Mowgli, director Jon Favreau and screenwriter Justin Marks have created what might prove to be the ultimate version of Kipling’s world, removing the ugly racism and retaining all of the wonder and adventure. The result is one of the best films I’ve seen this year, and one I already can’t wait to revisit.

After Along Came Polly made one of us too sick to do a normal episode, we took a break from our usual programming to do an episode about our controversial favorite sitcom couple: Monica and Chandler. No, they didn’t ruin Friends. Yes, they’re much better than Ross and Rachel.

This past week has seen Las Vegas play host to the annual CinemaCon, a convention where theater owners and Hollywood executives gather to show off new movies and hardware, and to panic about the future of their industry. Over the last few years, it seems like CinemaCon has always been the backdrop for the latest hand-wringing about winning over young audience members or internet streaming or what-have-you. This year’s convention was no different, and once again showcased an industry that seems incredibly desperate and oblivious to what its audience wants.